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The author of an atrocious undertaking ought to imagine that he has already accomplished it, ought to impose upon himself a future as irrevocable as the past.
To these artificial hindrances, another—of a congenital kind—must be added. To compose the Quixote at the beginning of the seventeenth century was a reasonable undertaking, necessary and perhaps even unavoidable; at the beginning of the twentieth, it is almost impossible. It is not in vain that three hundred years have gone by, filled with exceedingly complex events. Amongst them, to mention only one, is the Quixote itself.”
With no effort, he had learned English, French, Portuguese and Latin. I suspect, however, that he was not very capable of thought. To think is to forget differences, generalize, make abstractions. In the teeming world of Funes, there were only details, almost immediate in their presence.
Aurelian deplored this news, particularly the latter part. He knew that in questions of theology there is no novelty without risk; then he reflected that the thesis of a circular time was too different, too astounding, for the risk to be serious. (The heresies we should fear are those which can be confused with orthodoxy.)
To relate with some reality the events of that afternoon would be difficult and perhaps unrighteous. One attribute of a hellish experience is unreality, an attribute that seems to allay its terrors and which aggravates them perhaps.
Actually, the story was incredible, but it impressed everyone because substantially it was true. True was Emma Zunz’ tone, true was her shame, true was her hate. True also was the outrage she had suffered: only the circumstances were false, the time, and one or two proper names.
A foreigner whom she had always distrusted presumed so far upon her good faith as to sell her a number of cylindrical hats; a year later it was divulged that those absurd creations had never been worn in Paris at all!—consequently they were not hats, but arbitrary, unauthorized eccentricities.